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Alfred Soto: The friction between the bass sequencer and the high synth pattern allows Luna to tread a careful middle path of affectless commitment. The best sort of anonymity.[7]

Thomas Inskeep: Dark electropop with an ever-so-slight sinister edge to it that I’d love to hear in the club. Not really pop but not really not, either. And Luna has definite vocal presence.[8]

Ashley John: “Free Love” is a controlled ascent. It builds over the three and a half minutes, wrapping slowly around you like a snake around its prey. [6]

Maxwell Cavaseno: Glacial echoes bouncing off walls that sound ready to split down and fall upon you in a glistening yet pummeling fashion. “Free Love” might not have the most modern sort of synth sounds at their disposal, but it relies on the dread that underlies almost any sort of listener’s approach into a record. Tension is played upon perfectly to the point that any sort of ‘inviting’ aspect to Luna’s minimal crunch seems like so apparent a lure yet with no alternate options in sight. Honestly a great record to collapse a year upon or perhaps try to dig yourself out of for the present if you’re so willing.[7]

Will Adams:My most recent Amnesty pick was melancholic Slavic trance pop that I gave a [10], so it’d be unfair for me to not give this a high score, no matter how much rougher it sounds than “Proydet.”[7]

Iain Mew: From what I can find of the lyrics, the love very much comes at some kind of price. Which makes sense, because the monstrous looms as large as the mysterious in the dark synthetic forest in which Luna glides imperiously, singing with a distance that suggests not getting what she wants is not even a consideration. It’s hard to disagree, which explains why it has less an ending than an invitation to pause and press repeat.[8]